


The Symbolism of Spring Awakening

by EbonyBlack



Category: Spring Awakening - Sheik/Sater
Genre: Broadway, Symbolism, Theatre
Language: English
Status: In-Progress
Published: 2013-06-20
Updated: 2013-11-23
Packaged: 2017-12-15 13:23:16
Rating: Teen And Up Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 13
Words: 1,261
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/850021
Author URL: https://archiveofourown.org/users/EbonyBlack/pseuds/EbonyBlack
Summary: <blockquote class="userstuff">
              <p>A further look at the many little details that make Steven Sater and Duncan Sheik's interpretation of Frank Wedekind's "Spring Awakening" so beautiful and rich in meaning.</p>
            </blockquote>





	1. One

Wendla's first and last spoken word is "Mama" and both times she's crying it out in plea. Even if you count her opening musical number "Mama Who Bore Me" as part of her dialog, "Mama" is still her first word. Ultimately, both times she is denied her requests: to learn where babies come from and to be saved from the abortion doctor.


	2. Two

During Ilse's first appearances on stage, her hair is typically tied in braids, presuming the actress has long enough hair to do so. She joins in on the "Mama Who Bore Me Reprise," expressing her confusion and frustration with her mother, and joins Martha in singing "The Dark I Know Well," expressing her fear and hatred of her father. Thus, it would seem that she is still living with her family. Later on, however, when she tells Moritz about her new life with the artists colony, her hair is loose. Keeping their hair tied back in braids seems to represent submission to parental abuse for both Ilse and Martha, thus explaining why Martha was so frightened when the girls threatened to cut her hair. Ultimately, only Ilse chose to let down her hair and break free, suffering greatly for her choice.


	3. Three

During the song "Touch Me," the boys take turns carrying the melody and expressing the desire for physical love. However, Hanschen never solos. This seems ironic, because Hanschen is the one character who actually masturbates on stage. And yet, he is far too controlling and sadistic to ever dream of begging for affection of any sort. Ernst on the other hand, despite clearly being quite ignorant towards his sexuality, is ultimately the first to sing the titled phrase, "touch me." Being the youngest and shyest, he's likely the one most desperate to experience love.


	4. Four

During "And Then There Were None," Hanschen is the first to sing out against Moritz. While he's not the nicest character, Hanschen is a very composed and calculating young man. It is quite possible that he realizes that one of the boys will not make it to the next level, and Moritz and Ernst are the most likely candidates for expulsion. If Moritz cracks, Hanschen gets to keep Ernst.


	5. Chapter 5

The color of Wendla's flowers change. When she is no longer "pure," her flowers are no longer white.


	6. Chapter 6

It is heavily implied that Ilse is dead or dying during the latter part of the show, or at least that Moritz is having fantastical delusions about her. She never faces Moritz directly. She talks of the future as though it were the past. She says that a gun was held to her breast, but never indicates whether or not it was shot. In a way, she presents him with the veiled option to choose life or death at his crossroad - to follow her or to stay behind. That she wears green is quite significant because it is the color of death and decay, but also of rebirth and rejuvenation.


	7. Seven

Hanschen's name is interesting in that it is a combination of the German name "Hans" and the affectionate diminutive ending "chen," which implies small size, cuteness, sweetness, youth, etc. In a way, he is the most grown up of the characters, as he not only understands his world, but also how to manipulate it. Nonetheless, his good academic standing and his composed, well-behaved manner cause the adults to perceive him as "good and innocent," and thus he is rewarded with such a nickname.


	8. Eight

Throughout the musical, speech is used to represent communication and action, and song to represent deeper contemplations and personal thoughts. For the majority of the show, the adults do not sing, as they have been swallowed by their society and thus do not question social regulations and circumstances. Nonetheless, they join in on "Totally Fucked," indicating that on some level, they too are deeply unsatisfied.


	9. Nine

This isn't exactly symbolism, but rather an interesting notion. Spring Awakening is set in late 19th Century Germany. Ultimately, the generation portrayed would grow up to be adults during WW1, and their children would be adults during WW2. Despite that the musical is a recent adaptation, it is indeed based on a contemporary play. Frank Wedekind clearly sensed the instability of the generation about which he wrote.


	10. Ten

In the original play, a mysterious masked figure appears to prevent Melchior from committing suicide. The ghost of Moritz also appears, but lonely in his afterlife, he encourages Melchior to commit suicide so that his friend can come and join him. Wendla does not appear at all. 

This might be the starkest adaption that was made, other than Melchior not raping Wendla. It is significant because it is not an adult who saves Melchior, but rather his young friends. Only young people can create a new future.


	11. Eleven

The relationship of Wendla and Melchior, though certainly more loving, actually parallels that of Hanschen and Ernst: one character is more knowledgable and dominating, the other is curious and naive. Hanschen and Melchior ultimately share the same anger towards their society's prudence, even if they handle their emotions very differently. And Wendla and Ernst do seem to share the same combination of wanting and shame for their actions. In fact, in the original reprise of "The Word of Your Body," only Melchior and Wendla joined Hanschen and Ernst for the last chorus (differing from the OBC version, in which the whole cast joins in). This served not only to imply the similarities of their circumstances, but also of their futures. The audience is warned that while the Vineyard scene may serve as comic relief within the scope of the musical, Hanschen and Ernst will ultimately be torn apart by society.


	12. Twelve

Melchior's namesake is worth taking a look at. He shares his name with one of the three wise men who brought gifts to the baby Jesus. In addition, the name itself is derived from the Farsi tradition, where "melk" translates to a king or ruler. Thus, Melchior is the wise leader, who will help bring about change for the next generation.


	13. Thirteen

Frank Wedekind (in addition to to having been a renowned playwright, novella-ist, occasional trust-fund baby, and temporary jailbird) was also a singer/songwriter, making 19th century women swoon with his guitar, and contributing short songs to cabarets. He wrote one piece, entitled "Ilse," that adds a lot of depth to his Spring Awakening character:

Ich war ein Kind von vierzehn Jahren.   
Ein reines unschuldsvolles Kind   
Als ich zum ersten Mal erfahren,   
Wie süss der Liebe Freuden sind. 

I was a child of fourteen,  
A pure and innocent child.  
When I first experienced,  
How sweet the joys of love are.

Er nahm mich um den Leib und lachte   
Und flüsterte: Es tut nicht weh -   
Und dabei schob er sachte, sachte   
Mein Unterröckchen in die Höh!

He took me by the waist and laughed  
And whispered: It doesn't hurt -   
And with that he gently, gently pushed  
My petticoat up high!

Seit jenem Tag lieb ich sie Alle,   
Des Lebens schönster Lenz ist mein,   
Und wenn ich Keinem mehr gefalle,   
Dann will ich gern begraben sein.

Since that day I love them all,  
The sweetest Spring of life is mine.  
And when I don't please them anymore,  
I'd gladly be buried.

 

I really think that this poem supports the claim that Ilse does not survive to the show's end. "The sweetest spring" - that is to say, she had but one Spring.   
Also, Mortiz rejects her. Perhaps she thought it was because she didn't please him, when really no one could.

(Poem by Frank Wedekind; Translation by me)


End file.
